Tiziano- Stratigraphy

Tiziano Trasfigurazione

Tiziano Transfiguration

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1

Support
canvas with “herringbone” weaving, strong and robust “diagonal” weaving canvases were not uncommon in the Venetian environment.

2

Animal glue

3

Preparation
very thin gypsum and glue mixture, so much so as to barely cover the texture of the fabric.

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Animal glue glaze

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Priming
colored, made with linseed oil and pigment.

6

Drawing
made with soft writing means, where the line dissolves in whole or in part, the strokes are pasty and velvety.

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Sketch
first layers of oil paint characterized by a great impetus, without concern for the contours or the drawing, the mixtures are loose and the brushstrokes are free and spontaneous.

8

Paint layer
composed of multiple overlaps of oil color often without obvious logic, the stratigraphies obtained from the micro-samples show the overlapping of even ten, twelve successive spreadings.

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Glazings
light transparent layers of oil color

10

Resin varnish

Tiziano Vecellio- Pieve di Cadore 1490 ca. – Venice 1576 – Transfiguration – 1560 ca., oil on canvas cm 245×295 – San Salvador Church , Venice